1 00:00:00,800 --> 00:00:03,960 Speaker 1: This is Latino USA, the Radio Journal of News and 2 00:00:04,040 --> 00:00:07,400 Speaker 1: Culture's Latino USC latins Latino USA. 3 00:00:07,640 --> 00:00:11,240 Speaker 2: I'm Maria Nojosa. We bring you stories that are underreported 4 00:00:11,560 --> 00:00:14,480 Speaker 2: but that mattered to you, overlooked by the wrestler media, 5 00:00:14,560 --> 00:00:16,800 Speaker 2: and while the country is struggling to deal with these. 6 00:00:16,680 --> 00:00:19,880 Speaker 1: We listen to the stories of Black and Latino Studios United, 7 00:00:20,000 --> 00:00:24,799 Speaker 1: Latino Front, a cultural renaissance organizing at the forefront of 8 00:00:24,880 --> 00:00:25,400 Speaker 1: the movement. 9 00:00:26,160 --> 00:00:28,680 Speaker 2: I'm Maria Inojosa, nose Bayan. 10 00:00:31,240 --> 00:00:34,880 Speaker 3: Writer is always a kind of foreigner, wherever he's moving 11 00:00:34,960 --> 00:00:36,800 Speaker 3: and wherever he's writing about. 12 00:00:41,040 --> 00:00:44,960 Speaker 1: From Fudura Media and PRX, It's Latino USA. I'm Maria 13 00:00:45,080 --> 00:00:50,360 Speaker 1: nor Hoosa Today the strangeness of everyday life in the 14 00:00:50,400 --> 00:01:02,200 Speaker 1: writings of Argentinian author Samantha Schweblin. Writer Samantha Schweblin was 15 00:01:02,240 --> 00:01:05,640 Speaker 1: born in Argentina in nineteen seventy eight, a couple of 16 00:01:05,760 --> 00:01:09,000 Speaker 1: years after the start of a violent dictatorship in her country. 17 00:01:09,560 --> 00:01:12,800 Speaker 3: I was a baby when the military coup was happening. 18 00:01:13,440 --> 00:01:15,840 Speaker 3: Of course I couldn't understand what was going on, but 19 00:01:16,360 --> 00:01:22,080 Speaker 3: I have a very vivid memory of denture darkness. 20 00:01:23,040 --> 00:01:26,679 Speaker 1: More than forty years have passed, but some things have 21 00:01:26,840 --> 00:01:28,120 Speaker 1: stayed with Samantha. 22 00:01:28,920 --> 00:01:32,080 Speaker 3: I remember once being in the car with my dad 23 00:01:32,120 --> 00:01:35,080 Speaker 3: and my mom and just the look of a woman 24 00:01:35,240 --> 00:01:39,039 Speaker 3: who was at the back of another car. Something very 25 00:01:39,040 --> 00:01:41,920 Speaker 3: weird was happening with this woman. There were two men driving, 26 00:01:42,000 --> 00:01:44,400 Speaker 3: she was alone at the back. She was crying. 27 00:01:44,560 --> 00:01:45,360 Speaker 4: I mean, it's like. 28 00:01:46,240 --> 00:01:48,000 Speaker 3: I was so I don't know, maybe five or six 29 00:01:48,080 --> 00:01:50,520 Speaker 3: years old, and I still remember that phase. 30 00:01:55,360 --> 00:01:59,600 Speaker 1: In her writing, Samantha considers the sense of eeriness that 31 00:01:59,600 --> 00:02:02,880 Speaker 1: I come eat her childhood. Her work has been compared 32 00:02:02,920 --> 00:02:06,840 Speaker 1: to the surrealistic movies of David Lynch or to the 33 00:02:06,880 --> 00:02:12,360 Speaker 1: absurd tales of Franz Kafka. The unexplainable events in her 34 00:02:12,400 --> 00:02:19,079 Speaker 1: stories don't quite cross into the area of fantasy or horror. Instead, 35 00:02:19,600 --> 00:02:28,800 Speaker 1: they reveal the uncanny of the every day. Samantha's books 36 00:02:28,840 --> 00:02:32,360 Speaker 1: have been translated into twenty five different languages, and the 37 00:02:32,400 --> 00:02:36,440 Speaker 1: English translation of her short story collection A Mouthful of Birds, 38 00:02:36,840 --> 00:02:39,960 Speaker 1: as well as her novel Fever Dream, were both long 39 00:02:40,040 --> 00:02:44,960 Speaker 1: listed for the International Booker Prize. In this episode, first 40 00:02:44,960 --> 00:02:48,640 Speaker 1: Samantha shares how she started writing, and later she talks 41 00:02:48,639 --> 00:02:52,560 Speaker 1: about where her fascination came from. To focus on those 42 00:02:52,680 --> 00:02:56,760 Speaker 1: blurry lines, the ones between what we believe is normal 43 00:02:57,160 --> 00:03:02,680 Speaker 1: and what we find strange. Here's samanta' Shuvlin in her 44 00:03:02,720 --> 00:03:06,000 Speaker 1: own words. 45 00:03:07,720 --> 00:03:08,960 Speaker 4: I'm Samantha Schevlin. 46 00:03:09,160 --> 00:03:12,320 Speaker 3: I'm a short story mostly a short story writer. I 47 00:03:12,560 --> 00:03:16,600 Speaker 3: also write the novels. I grow up in Buenos Aires, Argentina. 48 00:03:17,160 --> 00:03:19,680 Speaker 3: In the last ten years I have been living in Berlin. 49 00:03:22,200 --> 00:03:28,760 Speaker 3: I'm particularly interested in what we call literatua alextrania, mieno, 50 00:03:28,919 --> 00:03:33,480 Speaker 3: or like the uncanni. I wouldn't say in literature, I 51 00:03:33,480 --> 00:03:36,920 Speaker 3: would say in life, what is jancannie? What is the 52 00:03:37,040 --> 00:03:38,240 Speaker 3: strange things that. 53 00:03:38,160 --> 00:03:38,920 Speaker 4: We have in life? 54 00:03:40,200 --> 00:03:43,600 Speaker 3: When people talk about my work, they usually say, oh, 55 00:03:43,920 --> 00:03:47,480 Speaker 3: these stories are so full of monsters, But where are 56 00:03:47,520 --> 00:03:50,240 Speaker 3: the monsters? Because this is not a horror story. It's 57 00:03:50,280 --> 00:03:53,400 Speaker 3: just the feeling of this is a horror story. There's 58 00:03:53,440 --> 00:03:56,120 Speaker 3: no monsters, but they are there. Where are these monsters? 59 00:03:56,160 --> 00:03:58,800 Speaker 3: Are they in the reader's mind or where are they? 60 00:03:59,680 --> 00:04:02,000 Speaker 3: And I I think something very deep happened in that 61 00:04:02,200 --> 00:04:08,400 Speaker 3: childhood that was those were the monsters. I grew up 62 00:04:08,520 --> 00:04:13,440 Speaker 3: in the suburbs. We belonged to a middle class family 63 00:04:14,080 --> 00:04:18,720 Speaker 3: and I was living with my parents. They have been 64 00:04:18,760 --> 00:04:22,599 Speaker 3: a great influence for me because they were artists, both 65 00:04:22,640 --> 00:04:27,640 Speaker 3: of them, and my grandfather in particular from my mom's side. 66 00:04:27,760 --> 00:04:31,359 Speaker 3: He was a painter, but not only that, he was 67 00:04:31,360 --> 00:04:35,520 Speaker 3: a teacher of a whole generation of artists in all 68 00:04:35,560 --> 00:04:39,080 Speaker 3: Latin America, so people from abroad came to study with 69 00:04:39,120 --> 00:04:43,400 Speaker 3: my grandfather. He has a huge attillier in the middle 70 00:04:43,440 --> 00:04:44,880 Speaker 3: of the city in Buenos Aires. 71 00:04:44,920 --> 00:04:45,680 Speaker 4: In San Telmo. 72 00:04:46,480 --> 00:04:48,800 Speaker 3: He was not so close to the family by then, 73 00:04:49,279 --> 00:04:51,240 Speaker 3: but he called my mom and said, okay, I want 74 00:04:51,279 --> 00:04:53,680 Speaker 3: to meet Samantha every week, and. 75 00:04:53,600 --> 00:04:56,200 Speaker 4: My mom said, okay, let's do this. 76 00:04:56,600 --> 00:04:58,680 Speaker 3: So I met him for the first time when I 77 00:04:58,720 --> 00:05:01,160 Speaker 3: was I don't remember, like five or six years old, 78 00:05:01,760 --> 00:05:04,359 Speaker 3: and he told me when we were alone, okay, we 79 00:05:04,400 --> 00:05:05,680 Speaker 3: are going to tell to you a mom, that this 80 00:05:05,800 --> 00:05:09,520 Speaker 3: is about going to the carousel, it in ice cream, 81 00:05:09,600 --> 00:05:12,160 Speaker 3: and all those things that kids are supposed to do, 82 00:05:12,800 --> 00:05:16,080 Speaker 3: but this is going to be the training of the artist. 83 00:05:16,839 --> 00:05:19,360 Speaker 4: I was six years old. An artist. 84 00:05:19,400 --> 00:05:21,920 Speaker 3: We need to train you for this because life is 85 00:05:21,960 --> 00:05:23,000 Speaker 3: going to be very hard. 86 00:05:26,760 --> 00:05:27,880 Speaker 4: For example, he. 87 00:05:27,960 --> 00:05:31,840 Speaker 3: Taught me to travel without paying the tickets of the 88 00:05:31,880 --> 00:05:34,880 Speaker 3: train or the bus, because he said that an artist 89 00:05:34,880 --> 00:05:40,480 Speaker 3: should be capable to live without westing money. He taught 90 00:05:40,520 --> 00:05:43,920 Speaker 3: me how to steal books from bookshops. Of course, we 91 00:05:43,960 --> 00:05:47,960 Speaker 3: also went to the museums, went to the theater, so 92 00:05:48,080 --> 00:05:53,880 Speaker 3: everything was exciting and amazing and unbelievable. And I started 93 00:05:53,880 --> 00:05:56,920 Speaker 3: to write with him because all these things that we 94 00:05:56,920 --> 00:06:00,200 Speaker 3: were doing, the main goal was to record all the 95 00:06:00,200 --> 00:06:04,359 Speaker 3: activities in a diary. So we have to write down 96 00:06:05,080 --> 00:06:06,479 Speaker 3: what had happened during the day. 97 00:06:07,320 --> 00:06:08,400 Speaker 4: But there were some rules. 98 00:06:08,520 --> 00:06:11,000 Speaker 3: He said that doesn't have any sense to say I 99 00:06:11,040 --> 00:06:13,720 Speaker 3: had a good day or I'm very happy doing this, 100 00:06:14,040 --> 00:06:19,360 Speaker 3: or that things should be accurate enough and well described 101 00:06:19,480 --> 00:06:24,240 Speaker 3: enough to be capable to move some feelings from the 102 00:06:24,240 --> 00:06:26,279 Speaker 3: one who is writing to the one. 103 00:06:26,120 --> 00:06:26,800 Speaker 4: Who is reading. 104 00:06:27,920 --> 00:06:31,160 Speaker 3: So this amazing exercise was for me the beginning of 105 00:06:31,200 --> 00:06:42,480 Speaker 3: the writing. I remember I went to a particular workshop 106 00:06:42,839 --> 00:06:47,200 Speaker 3: where they were reading Raymond Garvet and Flanneling O'Connor, all 107 00:06:47,240 --> 00:06:52,120 Speaker 3: this North American traditions. By then I had read a 108 00:06:52,240 --> 00:06:57,119 Speaker 3: Kafka or for example who sat the more European author, 109 00:06:57,360 --> 00:07:00,559 Speaker 3: But mostly my author were the author of the boom, 110 00:07:00,720 --> 00:07:03,800 Speaker 3: you know, like Abria Garcia, Marges Bargahosa, because these were 111 00:07:03,839 --> 00:07:07,120 Speaker 3: the books that my family had in the bookshelf. And 112 00:07:07,200 --> 00:07:09,800 Speaker 3: I remember when I discovered for the first time these 113 00:07:09,800 --> 00:07:15,600 Speaker 3: authors and North American authors. It was so shocking for me. 114 00:07:15,720 --> 00:07:20,200 Speaker 3: I loved them, and I wouldn't say that it was 115 00:07:20,400 --> 00:07:24,400 Speaker 3: the stories that really trapped me. In fact, I remember 116 00:07:25,320 --> 00:07:27,800 Speaker 3: the first time that I read the Raymond Gary was like. 117 00:07:27,760 --> 00:07:28,920 Speaker 4: What is this about? 118 00:07:29,000 --> 00:07:33,960 Speaker 3: Just drunk people smoking, getting divorced. Nothing is happening here. 119 00:07:34,080 --> 00:07:35,560 Speaker 4: I was a little bit like, where is this. 120 00:07:37,040 --> 00:07:41,120 Speaker 3: It took me time to understand how his mind is 121 00:07:41,120 --> 00:07:43,679 Speaker 3: working and how their machineries are working. 122 00:07:44,520 --> 00:07:47,680 Speaker 4: But what I love is the way they were doing it. 123 00:07:49,960 --> 00:07:54,280 Speaker 3: I think I learned to write reading them. 124 00:07:54,840 --> 00:07:56,120 Speaker 4: Very careful. 125 00:08:05,840 --> 00:08:11,000 Speaker 3: People who don't read usually short stories. They have this 126 00:08:11,280 --> 00:08:14,680 Speaker 3: idea about short stories like being a different kind of genre. 127 00:08:16,280 --> 00:08:17,160 Speaker 3: I don't understand that. 128 00:08:17,840 --> 00:08:18,120 Speaker 4: For me. 129 00:08:18,640 --> 00:08:21,760 Speaker 3: The only difference in my mind between a short story 130 00:08:21,800 --> 00:08:25,480 Speaker 3: and a novel is that one story last ten twenty 131 00:08:25,480 --> 00:08:29,760 Speaker 3: pages and the other two hundred. The kind of tools 132 00:08:29,800 --> 00:08:33,000 Speaker 3: that you used to write are the same, The relationship 133 00:08:33,040 --> 00:08:35,560 Speaker 3: that you build with the reader are the same. The 134 00:08:35,679 --> 00:08:38,960 Speaker 3: kind of deepness that you can go through with some 135 00:08:39,400 --> 00:08:42,319 Speaker 3: moments in life of the characters themselves are the same. 136 00:08:43,120 --> 00:08:46,440 Speaker 3: I mean, whenever I have an idea, my first instinct 137 00:08:46,920 --> 00:08:51,640 Speaker 3: is go to the short story length and then sometimes 138 00:08:53,000 --> 00:08:53,680 Speaker 3: doesn't work. 139 00:08:53,840 --> 00:08:55,000 Speaker 4: It's a kind of failure. 140 00:08:56,559 --> 00:09:00,680 Speaker 3: I can't manage to be super effective and strong enough 141 00:09:00,840 --> 00:09:03,400 Speaker 3: to tell the story in twenty pages. Then I need 142 00:09:03,440 --> 00:09:09,000 Speaker 3: two hundred more, and I have a novel. When I 143 00:09:09,080 --> 00:09:12,120 Speaker 3: started to grow up, we started by little to do 144 00:09:12,200 --> 00:09:16,520 Speaker 3: different trips with my grandfather, first and the outside of 145 00:09:16,520 --> 00:09:20,560 Speaker 3: Buenos Aires. Then we traveled to La Plata. Then we 146 00:09:20,640 --> 00:09:25,719 Speaker 3: traveled to other provinces in Buenos Aires. When I was sixteen, 147 00:09:26,320 --> 00:09:31,760 Speaker 3: we came to New York. It was an amazing trip. 148 00:09:31,800 --> 00:09:36,440 Speaker 3: You can imagine. With him, he was always inventing things, 149 00:09:36,720 --> 00:09:40,640 Speaker 3: inventing stories that were not true about things. I remember 150 00:09:40,760 --> 00:09:45,320 Speaker 3: he brought me to the Saint Patrick Church and he said, 151 00:09:45,400 --> 00:09:48,080 Speaker 3: this is the church of the immigrants, and this is 152 00:09:48,080 --> 00:09:50,920 Speaker 3: the saying of the immigrants. Whenever you want something, you 153 00:09:50,960 --> 00:09:53,240 Speaker 3: have to come here and ask for whatever you. 154 00:09:53,200 --> 00:09:54,680 Speaker 4: Want to Sant Patrick. 155 00:09:55,160 --> 00:09:57,880 Speaker 3: Patrick is not the god of the immigrants at all, 156 00:09:58,280 --> 00:10:00,000 Speaker 3: but he was like inventing these things. 157 00:10:04,720 --> 00:10:06,000 Speaker 4: And then I told him. 158 00:10:06,000 --> 00:10:09,760 Speaker 3: We were in the Brooklyn Bridge and we were crossing it, 159 00:10:09,800 --> 00:10:13,120 Speaker 3: and I said to my grandfather the moment that I 160 00:10:13,200 --> 00:10:16,640 Speaker 3: will be capable to support myself and had the money, 161 00:10:16,720 --> 00:10:19,839 Speaker 3: I will came to New York and he said no, no, no, no, no, 162 00:10:20,600 --> 00:10:21,760 Speaker 3: your place is Berlin. 163 00:10:22,960 --> 00:10:27,360 Speaker 4: He knew. And of course I didn't move to Berlin 164 00:10:27,440 --> 00:10:31,400 Speaker 4: because of that, but it's very curious that I'm there. 165 00:10:34,360 --> 00:10:38,640 Speaker 3: Moving to Berlin from the beginning was a great exercise 166 00:10:38,720 --> 00:10:43,520 Speaker 3: of estrangement because I was a foreigner, and I will 167 00:10:43,559 --> 00:10:47,200 Speaker 3: be a foreigner even if I stayed there my whole life. 168 00:10:47,760 --> 00:10:51,920 Speaker 3: It's so clear the difference between a Latin American citizen 169 00:10:52,040 --> 00:10:53,360 Speaker 3: and a German citizen. 170 00:10:54,080 --> 00:10:55,120 Speaker 2: But I like that. 171 00:10:56,760 --> 00:11:00,439 Speaker 3: Writer is always a kind of foreigner, wherever his moving 172 00:11:00,480 --> 00:11:06,640 Speaker 3: and wherever he's writing about. His main exercise it's to 173 00:11:06,720 --> 00:11:10,520 Speaker 3: behave as a foreign earth because in the moment that 174 00:11:11,280 --> 00:11:14,320 Speaker 3: you are convinced that you are not completely understanding what 175 00:11:14,480 --> 00:11:18,160 Speaker 3: is going on, then you have a more. 176 00:11:18,040 --> 00:11:20,520 Speaker 4: Objective perspective of what is going on. 177 00:11:28,600 --> 00:11:33,040 Speaker 3: I'm very amazed and surprised about how the concept of 178 00:11:33,280 --> 00:11:38,040 Speaker 3: normality works in our everyday life, because I just don't 179 00:11:38,040 --> 00:11:41,960 Speaker 3: believe in normality. It's so crazy, so it doesn't have 180 00:11:42,000 --> 00:11:48,120 Speaker 3: any sense, and it's so important for us. I'm so particular, 181 00:11:48,240 --> 00:11:51,320 Speaker 3: so unique, and you are so particular and so unique, 182 00:11:51,720 --> 00:11:54,280 Speaker 3: and the normality rule says that there is a point 183 00:11:54,320 --> 00:11:57,679 Speaker 3: in between you and me, just in the middle. That's normality, 184 00:11:58,240 --> 00:12:00,640 Speaker 3: and we keep the whole life trying to go there. 185 00:12:01,200 --> 00:12:04,160 Speaker 4: But there's nothing there. It's absolutely empty. 186 00:12:04,559 --> 00:12:10,679 Speaker 3: It's a complete fiction the area of normality. For example, 187 00:12:11,120 --> 00:12:14,240 Speaker 3: there's a story where there is a teenager who is 188 00:12:14,280 --> 00:12:17,800 Speaker 3: eating a bird as a food, and of course there 189 00:12:17,880 --> 00:12:20,760 Speaker 3: is a big mess in the family around this. But 190 00:12:20,920 --> 00:12:23,199 Speaker 3: we eat birds every. 191 00:12:23,040 --> 00:12:25,200 Speaker 4: Day, sometimes twice a day. 192 00:12:26,960 --> 00:12:29,080 Speaker 3: So what is the problem is because it's a bird 193 00:12:29,120 --> 00:12:32,679 Speaker 3: and it's not a chicken. Chicken is bigger than a bird. 194 00:12:32,720 --> 00:12:34,880 Speaker 3: It would be more logical to eat a bird and 195 00:12:35,000 --> 00:12:35,800 Speaker 3: to e a chicken. 196 00:12:35,840 --> 00:12:37,480 Speaker 4: You know what is the problem here? 197 00:12:37,559 --> 00:12:37,839 Speaker 5: Really? 198 00:12:38,600 --> 00:12:42,840 Speaker 3: You could say, oh, but the bird is alive. Chinese 199 00:12:42,880 --> 00:12:44,440 Speaker 3: people eat food that is alive. 200 00:12:44,920 --> 00:12:47,840 Speaker 4: I have been there. I mean food can be moving 201 00:12:47,920 --> 00:12:48,800 Speaker 4: on the plate and. 202 00:12:48,720 --> 00:12:51,679 Speaker 3: They eat it. So what is really the problem. It's 203 00:12:51,720 --> 00:12:55,400 Speaker 3: a social agreement, nothing else than that. It's just a 204 00:12:55,480 --> 00:12:59,760 Speaker 3: social agreement. But we took this as an absolute truth 205 00:13:00,400 --> 00:13:03,600 Speaker 3: and it's not. And the moment that you disassemble it, 206 00:13:04,520 --> 00:13:13,360 Speaker 3: then reality doesn't have any sense. I have heard here 207 00:13:13,480 --> 00:13:17,920 Speaker 3: and there things like, for example, or women's are writing 208 00:13:18,000 --> 00:13:21,120 Speaker 3: so much better than men these days. This is not 209 00:13:21,240 --> 00:13:24,520 Speaker 3: only something that is happening in Latin America. I'm saying 210 00:13:24,520 --> 00:13:26,640 Speaker 3: because I thought it was only in Latin America, But 211 00:13:26,720 --> 00:13:31,080 Speaker 3: then when you start to travel around festivals, in international 212 00:13:31,160 --> 00:13:34,000 Speaker 3: festival around the world, this is a topic that is 213 00:13:34,040 --> 00:13:39,640 Speaker 3: floating around. Suddenly women's are publishing the same or even. 214 00:13:39,520 --> 00:13:42,440 Speaker 4: More than the men. 215 00:13:42,640 --> 00:13:45,120 Speaker 3: And this is very interesting because some people call this 216 00:13:45,440 --> 00:13:48,640 Speaker 3: a boom, and this is not a boom. This is 217 00:13:48,679 --> 00:13:50,880 Speaker 3: what the half of the other half of the humanity 218 00:13:50,960 --> 00:13:56,319 Speaker 3: have been writing. It's just that now they are publishing them. 219 00:13:56,400 --> 00:14:00,520 Speaker 3: So I feel like grateful maybe or exciting about the 220 00:14:00,559 --> 00:14:04,319 Speaker 3: idea of sharing this moment with these authors. 221 00:14:04,720 --> 00:14:05,960 Speaker 4: We are so different. 222 00:14:06,440 --> 00:14:11,040 Speaker 3: You have someone like Gabriela Cavison, who is playing in 223 00:14:11,360 --> 00:14:15,920 Speaker 3: such a brave way with language, or Claudia Pineiro, who 224 00:14:16,040 --> 00:14:22,560 Speaker 3: goes through a completely different perspective, or Margaritaria Robaso, who 225 00:14:22,880 --> 00:14:29,840 Speaker 3: has this super subtle and intimate realism about women. Or 226 00:14:29,880 --> 00:14:33,320 Speaker 3: you have Gabrillabinar, who doesn't have anything to do with 227 00:14:33,360 --> 00:14:37,240 Speaker 3: the three that I have just named. So it's very 228 00:14:37,280 --> 00:14:42,960 Speaker 3: hard to classify us as a movement. What is true 229 00:14:43,040 --> 00:14:46,920 Speaker 3: is that women in literature have been a minority up 230 00:14:46,960 --> 00:14:52,360 Speaker 3: to very short time ago, and as a minority, you 231 00:14:52,480 --> 00:14:56,760 Speaker 3: always came to the canon with a lot of new news. 232 00:14:56,920 --> 00:14:57,120 Speaker 4: You know. 233 00:14:57,240 --> 00:14:59,800 Speaker 3: It's like, we have this to say, and that's to say, 234 00:15:00,040 --> 00:15:03,440 Speaker 3: and we have this story about this weekend, with our 235 00:15:03,560 --> 00:15:07,440 Speaker 3: own stories, with our own paints, even I would say, 236 00:15:07,480 --> 00:15:09,000 Speaker 3: with our own tradition. 237 00:15:09,840 --> 00:15:11,400 Speaker 4: So it's not better, it's just new. 238 00:15:11,480 --> 00:15:25,200 Speaker 3: We have so many things to say. 239 00:15:37,000 --> 00:15:40,440 Speaker 1: This episode was produced by Victoria Estrada and Martin Martinez. 240 00:15:40,560 --> 00:15:44,000 Speaker 1: It was edited by Sarah White Scottochak. It was mixed 241 00:15:44,040 --> 00:15:49,160 Speaker 1: by Julia Caruso. The Latino USA team also includes Renaldo 242 00:15:49,280 --> 00:15:53,920 Speaker 1: Leanos Junior, Andrea Lopez Cruzado, Flodi mar Marquez, Mike Sargent, 243 00:15:54,080 --> 00:15:57,920 Speaker 1: Neur Saudi, and Nancy Trujillo. Penilei Ramidez is our co 244 00:15:57,960 --> 00:16:02,120 Speaker 1: executive producer. Our director of engineering is Stephanie Lebau. Our 245 00:16:02,160 --> 00:16:05,720 Speaker 1: marketing manager is Res Luna. Our theme music was composed 246 00:16:05,960 --> 00:16:09,600 Speaker 1: by Ze Ruinos. I'm your host and executive producer Mariao Josa. 247 00:16:09,920 --> 00:16:11,960 Speaker 1: Join us again on our next episode. In the meantime, 248 00:16:11,960 --> 00:16:14,600 Speaker 1: remember look for us on social media. I will see 249 00:16:14,600 --> 00:16:24,680 Speaker 1: you there and as always and forever bye. 250 00:16:22,960 --> 00:16:27,120 Speaker 5: Latino USA is made possible in part by New York 251 00:16:27,240 --> 00:16:31,840 Speaker 5: Women's Foundation. The New York Women's Foundation, funding women leaders 252 00:16:31,880 --> 00:16:35,960 Speaker 5: that build solutions in their communities, and celebrating thirty years 253 00:16:35,960 --> 00:16:40,120 Speaker 5: of radical generosity, the John D. And Catherine T. MacArthur 254 00:16:40,160 --> 00:16:45,480 Speaker 5: Foundation and the Ford Foundation, working with visionaries on the 255 00:16:45,480 --> 00:16:59,960 Speaker 5: front lines of social change worldwide. 256 00:17:00,200 --> 00:17:04,880 Speaker 3: L Cafe, Caffe Caffe, Combintias Unco